(Guitar, Hand Drum, Keyboard, Percussion) SKU: HP.8837 Arranged by Joel R...(+)
(Guitar, Hand Drum,
Keyboard, Percussion)
SKU: HP.8837
Arranged by Joel Raney.
Christmas, Sacred.
Voice-dominant sa/tb
rehearsal CDs (set of 2)
reproducible. Hope
Publishing Company #8837.
Published by Hope
Publishing Company
(HP.8837).
UPC:
763628188375.
Chris
tmas Musical
Following up on the
success of last year's
gospel Christmas cantata,
Joy!, Joel Raney once
again brings his
masterful ability to
compose new and creative
rhythms that showcase his
grasp of the gospel style
to Hope! The Christmas
story unfolds through six
compelling choral
settings for SATB voices.
Scripture readings guide
us to the manger and
reflect on the promise of
hope we find in Christ's
birth. Accompaniment can
be provided by just
piano, or Ed Hogan's
lively orchestration, or
a smaller set of rhythm
parts. Performance time
is 25-minutes, making
this ideal for fitting
into a Christmas worship
service or as a separate
musical program.
Rhythm parts: Conductor's
Score, Percussion, Piano,
Synth, Guitar/Bass, Capo
Guitar (3 songs), Drums
and String Reduction for
Keyboard.
Orchestrations:
Conductor's Score, Flute,
Oboe (or Soprano Sax* or
Clarinet*), Clarinet, 2
Trumpets (or Alto Sax*),
Alto Sax, Tenor Sax, 2
Trombones (or Tenor Sax*
or Baritone T. C. *),
Percussion, Piano, Synth,
Guitar/Bass (Capo Guitar
on 3 songs*), Drums,
Violins 1 & 2, Viola,
Cello/Bassoon (or Bass
Clarinet*)and String
Reduction for Keyboard.
*Parts are included on
the CD-ROM. The publisher
grants permission to the
purchaser to print parts
from the CD-ROM for use
in your church's
performance.
String Orchestra string
orchestra (88555) with
optional 3rd Violin/Viola
TC (3), piano and
percussion - Grade 1.5
SKU: KN.8293
From Judas
Maccabaeus. Composed
by George Frideric
Handel. Arranged by John
Caponegro. Standard
string orchestra (88555)
with optional 3rd
Violin/Viola TC (3),
piano and percussion.
Accent String Orchestra.
Score and Set of Parts.
Kendor Music Inc #8293.
Published by Kendor Music
Inc (KN.8293).
UPC:
822795082937.
This
regal selection from the
oratorio Judas Maccabeus
by Handel is playable
entirely in first
position. Accidentals are
few, phrasing patterns
and rhythms are
customary, and melodic
duties are not limited to
1st Violins. To enhance
the style and character
of the music, John
encourages directors to
use the optional
percussion part for snare
and bass drums whenever
possible. Duration 2:35.
Available in
SmartMusic.
(Guitar, Hand Drum, Keyboard, Percussion) SKU: HP.8838 Arranged by Joel R...(+)
(Guitar, Hand Drum,
Keyboard, Percussion)
SKU: HP.8838
Arranged by Joel Raney.
Christmas, Sacred.
Split-track accompaniment
CD. Hope Publishing
Company #8838. Published
by Hope Publishing
Company (HP.8838).
UPC:
763628188382.
Chris
tmas Musical
Following up on the
success of last year's
gospel Christmas cantata,
Joy!, Joel Raney once
again brings his
masterful ability to
compose new and creative
rhythms that showcase his
grasp of the gospel style
to Hope! The Christmas
story unfolds through six
compelling choral
settings for SATB voices.
Scripture readings guide
us to the manger and
reflect on the promise of
hope we find in Christ's
birth. Accompaniment can
be provided by just
piano, or Ed Hogan's
lively orchestration, or
a smaller set of rhythm
parts. Performance time
is 25-minutes, making
this ideal for fitting
into a Christmas worship
service or as a separate
musical program.
Rhythm parts: Conductor's
Score, Percussion, Piano,
Synth, Guitar/Bass, Capo
Guitar (3 songs), Drums
and String Reduction for
Keyboard.
Orchestrations:
Conductor's Score, Flute,
Oboe (or Soprano Sax* or
Clarinet*), Clarinet, 2
Trumpets (or Alto Sax*),
Alto Sax, Tenor Sax, 2
Trombones (or Tenor Sax*
or Baritone T. C. *),
Percussion, Piano, Synth,
Guitar/Bass (Capo Guitar
on 3 songs*), Drums,
Violins 1 & 2, Viola,
Cello/Bassoon (or Bass
Clarinet*)and String
Reduction for Keyboard.
*Parts are included on
the CD-ROM. The publisher
grants permission to the
purchaser to print parts
from the CD-ROM for use
in your church's
performance.
(Guitar, Hand Drum, Keyboard, Percussion) SKU: HP.8832 Arranged by Joel R...(+)
(Guitar, Hand Drum,
Keyboard, Percussion)
SKU: HP.8832
Arranged by Joel Raney.
Christmas, Sacred.
Listening CD. Hope
Publishing Company #8832.
Published by Hope
Publishing Company
(HP.8832).
UPC:
763628188320.
Chris
tmas Musical
Following up on the
success of last year's
gospel Christmas cantata,
Joy!, Joel Raney once
again brings his
masterful ability to
compose new and creative
rhythms that showcase his
grasp of the gospel style
to Hope! The Christmas
story unfolds through six
compelling choral
settings for SATB voices.
Scripture readings guide
us to the manger and
reflect on the promise of
hope we find in Christ's
birth. Accompaniment can
be provided by just
piano, or Ed Hogan's
lively orchestration, or
a smaller set of rhythm
parts. Performance time
is 25-minutes, making
this ideal for fitting
into a Christmas worship
service or as a separate
musical program.
Rhythm parts: Conductor's
Score, Percussion, Piano,
Synth, Guitar/Bass, Capo
Guitar (3 songs), Drums
and String Reduction for
Keyboard.
Orchestrations:
Conductor's Score, Flute,
Oboe (or Soprano Sax* or
Clarinet*), Clarinet, 2
Trumpets (or Alto Sax*),
Alto Sax, Tenor Sax, 2
Trombones (or Tenor Sax*
or Baritone T. C. *),
Percussion, Piano, Synth,
Guitar/Bass (Capo Guitar
on 3 songs*), Drums,
Violins 1 & 2, Viola,
Cello/Bassoon (or Bass
Clarinet*)and String
Reduction for Keyboard.
*Parts are included on
the CD-ROM. The publisher
grants permission to the
purchaser to print parts
from the CD-ROM for use
in your church's
performance.
(Guitar, Hand Drum, Keyboard, Percussion) SKU: HP.8833 Arranged by Joel R...(+)
(Guitar, Hand Drum,
Keyboard, Percussion)
SKU: HP.8833
Arranged by Joel Raney.
Christmas, Sacred.
Accompaniment CD. Hope
Publishing Company #8833.
Published by Hope
Publishing Company
(HP.8833).
UPC:
763628188337.
Chris
tmas Musical
Following up on the
success of last year's
gospel Christmas cantata,
Joy!, Joel Raney once
again brings his
masterful ability to
compose new and creative
rhythms that showcase his
grasp of the gospel style
to Hope! The Christmas
story unfolds through six
compelling choral
settings for SATB voices.
Scripture readings guide
us to the manger and
reflect on the promise of
hope we find in Christ's
birth. Accompaniment can
be provided by just
piano, or Ed Hogan's
lively orchestration, or
a smaller set of rhythm
parts. Performance time
is 25-minutes, making
this ideal for fitting
into a Christmas worship
service or as a separate
musical program.
Rhythm parts: Conductor's
Score, Percussion, Piano,
Synth, Guitar/Bass, Capo
Guitar (3 songs), Drums
and String Reduction for
Keyboard.
Orchestrations:
Conductor's Score, Flute,
Oboe (or Soprano Sax* or
Clarinet*), Clarinet, 2
Trumpets (or Alto Sax*),
Alto Sax, Tenor Sax, 2
Trombones (or Tenor Sax*
or Baritone T. C. *),
Percussion, Piano, Synth,
Guitar/Bass (Capo Guitar
on 3 songs*), Drums,
Violins 1 & 2, Viola,
Cello/Bassoon (or Bass
Clarinet*)and String
Reduction for Keyboard.
*Parts are included on
the CD-ROM. The publisher
grants permission to the
purchaser to print parts
from the CD-ROM for use
in your church's
performance.
(Guitar, Hand Drum, Keyboard, Percussion) SKU: HP.8835 Arranged by Joel R...(+)
(Guitar, Hand Drum,
Keyboard, Percussion)
SKU: HP.8835
Arranged by Joel Raney.
Christmas, Sacred. Value
Pack (10 Listening CDs).
Hope Publishing Company
#8835. Published by Hope
Publishing Company
(HP.8835).
UPC:
763628188351.
Chris
tmas Musical
Following up on the
success of last year's
gospel Christmas cantata,
Joy!, Joel Raney once
again brings his
masterful ability to
compose new and creative
rhythms that showcase his
grasp of the gospel style
to Hope! The Christmas
story unfolds through six
compelling choral
settings for SATB voices.
Scripture readings guide
us to the manger and
reflect on the promise of
hope we find in Christ's
birth. Accompaniment can
be provided by just
piano, or Ed Hogan's
lively orchestration, or
a smaller set of rhythm
parts. Performance time
is 25-minutes, making
this ideal for fitting
into a Christmas worship
service or as a separate
musical program.
Rhythm parts: Conductor's
Score, Percussion, Piano,
Synth, Guitar/Bass, Capo
Guitar (3 songs), Drums
and String Reduction for
Keyboard.
Orchestrations:
Conductor's Score, Flute,
Oboe (or Soprano Sax* or
Clarinet*), Clarinet, 2
Trumpets (or Alto Sax*),
Alto Sax, Tenor Sax, 2
Trombones (or Tenor Sax*
or Baritone T. C. *),
Percussion, Piano, Synth,
Guitar/Bass (Capo Guitar
on 3 songs*), Drums,
Violins 1 & 2, Viola,
Cello/Bassoon (or Bass
Clarinet*)and String
Reduction for Keyboard.
*Parts are included on
the CD-ROM. The publisher
grants permission to the
purchaser to print parts
from the CD-ROM for use
in your church's
performance.
(Guitar, Hand Drum, Keyboard, Percussion) SKU: HP.8834 Arranged by Joel R...(+)
(Guitar, Hand Drum,
Keyboard, Percussion)
SKU: HP.8834
Arranged by Joel Raney.
Christmas, Sacred. Set of
Instrumental Parts. Hope
Publishing Company #8834.
Published by Hope
Publishing Company
(HP.8834).
UPC:
763628188344.
Chris
tmas Musical
Following up on the
success of last year's
gospel Christmas cantata,
Joy!, Joel Raney once
again brings his
masterful ability to
compose new and creative
rhythms that showcase his
grasp of the gospel style
to Hope! The Christmas
story unfolds through six
compelling choral
settings for SATB voices.
Scripture readings guide
us to the manger and
reflect on the promise of
hope we find in Christ's
birth. Accompaniment can
be provided by just
piano, or Ed Hogan's
lively orchestration, or
a smaller set of rhythm
parts. Performance time
is 25-minutes, making
this ideal for fitting
into a Christmas worship
service or as a separate
musical program.
Rhythm parts: Conductor's
Score, Percussion, Piano,
Synth, Guitar/Bass, Capo
Guitar (3 songs), Drums
and String Reduction for
Keyboard.
Orchestrations:
Conductor's Score, Flute,
Oboe (or Soprano Sax* or
Clarinet*), Clarinet, 2
Trumpets (or Alto Sax*),
Alto Sax, Tenor Sax, 2
Trombones (or Tenor Sax*
or Baritone T. C. *),
Percussion, Piano, Synth,
Guitar/Bass (Capo Guitar
on 3 songs*), Drums,
Violins 1 & 2, Viola,
Cello/Bassoon (or Bass
Clarinet*)and String
Reduction for Keyboard.
*Parts are included on
the CD-ROM. The publisher
grants permission to the
purchaser to print parts
from the CD-ROM for use
in your church's
performance.
Composed by
Stan Pethel. Piano
Accompaniment with
Optional Orchestra.
General Worship,
Discipleship, Sacred. Set
of Instrumental Parts.
Hope Publishing Company
#GC955O. Published by
Hope Publishing Company
(HP.GC955O).
UPC:
763628246983.
Origi
nal anthem The
handwritten orchestration
by Larry Mayfield
contains a Conductor's
Score and parts for:
Rhythm, Percussion,
Woodwinds 1, 2 & 3,
Trumpets 1, 2 & 3, Horns
1, 2 & 3, Trombones 1, 2
& 3, Harp, Violins 1, 2 &
3, Cello and String
Bass.
Composed by Ruth Elaine
Schram. Young String
Orchestra (YAS). Full
score. With Standard
notation. 8 pages. Carl
Fischer Music #YAS178F.
Published by Carl Fischer
Music (CF.YAS178F).
ISBN 9781491151808.
UPC: 680160909308. 9 x 12
inches.
The title
of this piece,?Le
Printemps,?is French for
the springtime. This
piece brings images of
springtime to the
listener's mind. ?The
rhythmic pattern that
begins in the bass and
works its way up to the
violins illustrates the
patter of raindrops or of
flowers bursting into
bloom. The beautiful
melodies in the piece
engage players and
audiences. The title
Le Printemps is
French for the
springtime. This piece is
meant to bring images of
springtime to the
listeners mind. The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer
(mp<
/em>) and more legato,
and could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 2528,
building up to the
mf
em>. In m. 34, make the
most of the poco
rall. as you prepare
to reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Enjoy Le
Printemps!. The
title Le
PrintempsA is French
for athe springtime.a
This piece is meant to
bring images of
springtime to the
listeneras mind. A The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer
(mp<
/em>) and more legato,
and could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 25a28,
building up to the
mf
em>. In m. 34, make the
most of the poco
rall. as you prepare
to reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. A Enjoy Le
Printemps!. The
title Le
Printemps is French
for the springtime. This
piece is meant to bring
images of springtime to
the listener's mind. The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer
(mp<
/em>) and more legato,
and could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 25-28,
building up to the
mf
em>. In m. 34, make the
most of the poco
rall. as you prepare
to reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Enjoy Le
Printemps!. The
title Le Printemps is
French for the
springtime. This piece is
meant to bring images of
springtime to the
listener's mind. The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer (mp)
and more legato, and
could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 25-28,
building up to the mf. In
m. 34, make the most of
the poco rall. as you
prepare to reiterate the
staccato portion that
begins again in m. 35.
Again, the moving parts
here with the slurs have
the melody and should not
be overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Enjoy Le
Printemps!. The title
Le Printemps is French
for “the
springtime.†This
piece is meant to bring
images of springtime to
the listener’s
mind. Â The rhythmic
pattern that begins in
the bass and works its
way up through the
sections to the violins
could be the patter of
raindrops, or indicative
of flowers pushing their
way up through the ground
and bursting into bloom.
All the instruments that
have the staccato notes
are the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit.The middle section is
a little softer (mp) and
more legato, and could
bring to mind a lovely,
warm breeze that is
gently moving across the
new, green grass and the
budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm.
25–28, building up
to the mf. In m. 34, make
the most of the poco
rall. as you prepare to
reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments.At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Â Enjoy Le
Printemps!
Orchestra String Orchestra - Grade 1 SKU: CF.BAS5 Composed by Joseph Comp...(+)
Orchestra String
Orchestra - Grade 1
SKU: CF.BAS5
Composed by Joseph
Compello. SWS - FS. Carl
Fischer Beginning String
Orchestra Series.
Classical. Score and
Parts. With Standard
notation.
12+8+8+5+5+5+3+2 pages.
Duration 2:30. Carl
Fischer Music #BAS5.
Published by Carl Fischer
Music (CF.BAS5).
ISBN
9780825845086. UPC:
798408045081. 8.5 X 11
inches. Key: D
major.
The musical
effect of Prarie
Lullaby should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close to p as
possible. Beginning at
m.39, the violin and
viola parts are marked
pizzicato. If
young players are unable
to return quickly to
argo at m.53,
they may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. The divisi
notes at m. 69 are
provided for ensembles
which lack violas.
Ensembles with violas may
have them play the lower
notes while the second
violins play the upper
notes. Percussion, which
is completely optional,
should be very subdued.
Choose a bell mallet
which allows the tones to
be heard just above the
strings. the woodblock
part is intended to
imitate the clip-clop
sound of a horse's
hooves. Two different
sizes of woodblocks or
temple blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect ofA Prarie
LullabyA should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close toA p as
possible. Beginning at
m.39, the violin and
viola parts are markedA
pizzicato. If
young players are unable
to return quickly toA
argo at m.53,
they may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. TheA
divisiA notes at
m. 69 are provided for
ensembles which lack
violas. Ensembles with
violas may have them play
the lower notes while the
second violins play the
upper notes. Percussion,
which is completely
optional, should be very
subdued. Choose a bell
mallet which allows the
tones to be heard just
above the strings. the
woodblock part is
intended to imitate the
clip-clop sound of a
horse's hooves. Two
different sizes of
woodblocks or temple
blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect ofA Prarie
LullabyA should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close toA p as
possible. Beginning at
m.39, the violin and
viola parts are markedA
pizzicato. If
young players are unable
to return quickly toA
argo at m.53,
they may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. TheA
divisiA notes at
m. 69 are provided for
ensembles which lack
violas. Ensembles with
violas may have them play
the lower notes while the
second violins play the
upper notes. Percussion,
which is completely
optional, should be very
subdued. Choose a bell
mallet which allows the
tones to be heard just
above the strings. the
woodblock part is
intended to imitate the
clip-clop sound of a
horse's hooves. Two
different sizes of
woodblocks or temple
blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect of Prarie
Lullaby should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close to p as
possible. Beginning at
m.39, the violin and
viola parts are marked
pizzicato. If
young players are unable
to return quickly to
argo at m.53,
they may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. The divisi
notes at m. 69 are
provided for ensembles
which lack violas.
Ensembles with violas may
have them play the lower
notes while the second
violins play the upper
notes. Percussion, which
is completely optional,
should be very subdued.
Choose a bell mallet
which allows the tones to
be heard just above the
strings. the woodblock
part is intended to
imitate the clip-clop
sound of a horse's
hooves. Two different
sizes of woodblocks or
temple blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect of Prarie Lullaby
should be graceful and
serene, evocative of a
peaceful night on the
open plains. To that end,
players will need to
strive for an unlabored
rhythmic flow, smooth
bowing and a clear,
steady tone as close to p
as possible. Beginning at
m.39, the violin and
viola parts are marked
pizzicato. If young
players are unable to
return quickly to argo at
m.53, they may make the
bow preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. The divisi
notes at m. 69 are
provided for ensembles
which lack violas.
Ensembles with violas may
have them play the lower
notes while the second
violins play the upper
notes. Percussion, which
is completely optional,
should be very subdued.
Choose a bell mallet
which allows the tones to
be heard just above the
strings. the woodblock
part is intended to
imitate the clip-clop
sound of a horse's
hooves. Two different
sizes of woodblocks or
temple blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect of Prarie
Lullaby should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close to p as
possible.Beginning at
m.39, the violin and
viola parts are
marked pizzicato. If
young players are unable
to return quickly
to argo at m.53, they
may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and
score.The divisi no
tes at m. 69 are provided
for ensembles which lack
violas. Ensembles with
violas may have them play
the lower notes while the
second violins play the
upper notes.Percussion,
which is completely
optional, should be very
subdued. Choose a bell
mallet which allows the
tones to be heard just
above the strings. the
woodblock part is
intended to imitate the
clip-clop sound of a
horse's hooves. Two
different sizes of
woodblocks or temple
blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead.The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54.Performance time
with the repeat is two
and a half minutes.
About Carl
Fischer Beginning String
Orchestra
Series
Thi
s series of Grade 1
pieces is designed for
first year string groups.
The pieces in this series
are characterized by:
Limited parts
(often 2nd violin and
viola are the same part,
cello and bass are same
part)
Limited
keys and rhythms - only
simple 8th note
patterns
Composed by Joseph M.
Martin. Piano
Accompaniment with
Optional Orchestra. Vocal
Solo Sheet Music Series.
Thanksgiving, General
Worship, Sacred. Set of
Instrumental Parts. Hope
Publishing Company
#C5614O. Published by
Hope Publishing Company
(HP.C5614O).
UPC:
763628256142. Joseph M.
Martin. Philippians
2:10-11, Isaiah 12:4,
Acts 18:9, Psalms
19:1-14, Psalms 107:1-7,
Luke
17:11-19.
Original
anthem From Joseph Martin
here is a gorgeous,
lyrical expression of
praise and thanksgiving.
The memorable melody and
personal text build to
the familiar quote, If
Christ is Lord of heaven
and earth, how can I keep
from singing? The
orchestration, by Stan
Pethel, heightens the
impact of this deeply
felt anthem of gratitude
useful for Thanksgiving
and general occasions.
This top-seller has been
newly re-voiced for SAB
voices. The Rhythm packet
contains parts for Drums
and Electric Bass. The
Orchestration includes a
Conductor's Score and
parts for: Electric Bass,
Drums, Flute 1 & 2, Oboe,
Clarinet 1 & 2, Bassoon,
French Horn 1 & 2,
Trumpets 1, 2 & 3,
Trombones 1 & 2, Bass
Trombone/Tuba, Timpani,
Percussion 1 & 2, Harp,
Violins 1 & 2, Viola,
Cello, and Double
Bass.
International Edition. By Kuang-Hao Huang. This edition: Performance/Accompa...(+)
International Edition. By
Kuang-Hao Huang. This
edition:
Performance/Accompaniment
CD;
International.
Method/Instruction;
String -
Violin (Suzuki); Suzuki.
Suzuki Violin School. CD.
Alfred Music #00-50107.
Published by Alfred Music
SATB choir; orchestra SKU: HP.GC964O Composed by Ken Medema. Piano Accomp...(+)
SATB choir; orchestra
SKU: HP.GC964O
Composed by Ken Medema.
Piano Accompaniment with
Optional Orchestra.
Celebration, Dedication,
Pentecost, General
Worship, Trust & Unity,
Sacred. Set of
Instrumental Parts. Hope
Publishing Company
#GC964O. Published by
Hope Publishing Company
(HP.GC964O).
Original
anthem The
orchestration by Don Hart
consists of a Conductor's
Score and parts for:
Flute, Oboe, Clarinet,
Horns 1, 2 & 3, Trumpet
1, 2 & 3, Tuba,
Percussion 1 & 2, Harp,
Rhythm, Violins 1 & 2,
Viola, Cello and Bass.
The orchestration by Don
Hart consists of a
Conductor's Score and
parts for: Flute, Oboe,
Clarinet, Horns 1, 2 & 3,
Trumpet 1, 2 & 3, Tuba,
Percussion 1 & 2, Harp,
Rhythm, Violins 1 & 2,
Viola, Cello and
Bass.
Composed by Charlotte
Algozin. Piano
Accompaniment with
Optional Orchestra.
Christmas, Sacred. Set of
Instrumental Parts. Hope
Publishing Company
#AD2053O. Published by
Hope Publishing Company
(HP.AD2053O).
UPC:
763628220532. Charlotte
Algozin.
Original
Christmas anthem The
orchestration by Don Hart
includes a Conductor's
Score and parts for:
Flute, Oboe, Clarinet,
Horns 1, 2 & 3,
Percussion 1 & 2, Harp,
Rhythm, Violins 1 & 2,
Viola, Cello and
Bass.
For Orchestra.
Composed by Nancy
Galbraith. Orchestra.
Study Score. Composed
1997. Duration 3'. Subito
Music Corporation
#90810040. Published by
Subito Music Corporation
(SU.90810040).
Instrumentation
: 3fl(picc), 2ob, 2cl,
2bn; 4hn, 3tpt, 2tbn(bs),
tba; timp, 4 perc, hrp,
pno; strings Duratiion:
3' Full Score & Parts:
available on rental
Composed: 1997 Published
by: Subito Music
Publishing Composer's
Note: A Festive Violet
Pulse opens with lively
textures in the woodwinds
which are used as
accompaniment for a
melodic statement in the
violins. This melody is
answered contrapuntally
by the celli, and
develops into a web of
repeated melodic phrases.
The middle section is
very rhythmic,
highlighting the
percussion section and
making use of many
polyrhtyhms. A soft
tremolo begins to emerge
in the strings and
gradually evolves into
the foreground material.
A repeated note theme
enters in the celli and
is answered sequentially
by each string section. A
strong statement of the
original theme in the
trumpets and violins
climaxes the movement.
--N.G.
(For Theater Or Chamber Orchestra). Composed by Charles Ives (1874-1954). For ch...(+)
(For Theater Or Chamber
Orchestra). Composed by
Charles Ives (1874-1954).
For chamber orchestra
(oboe, flute, or clarinet
ad lib., english horn or
cornet, 2 Bb clarinets,
bassoon (or Eb baritone
saxophone), or trombone,
horn/trombone solo
(e.h./a cl. for smaller
strings), trombone,
tympani, bells (high and
low), piano (4 hands),
harps/violins at a di).
Contemporary. Full score
- study. Standard
notation. 24 pages.
Duration 7 minutes, 30
seconds. Theodore Presser
Company #446-41262.
Published by Theodore
Presser Company